What is NDisplay?
nDisplay is a technology used to render and project video content onto screens with non-standard or irregular geometries. A prominent example of its application is in 3D anamorphic displays.
These types of screens are increasingly prevalent in densely populated urban areas. I have often found them visually striking and have long been interested in understanding the underlying physics. Observing the displays from different angles appears to produce varying visual effects, which has further sparked my curiosity about the principles that govern their operation.
How to make NDisplay?
“Such visual effects can be efficiently rendered in Unreal Engine using nDisplay through a relatively straightforward process. The first step involves initiating a project configured for nDisplay support.
Next, the target display surface—intended to project the video content—is imported into Unreal Engine.
Subsequently, the video content is mapped onto the imported display geometry to ensure accurate alignment and visual coherence.
That essentially completes the process.
One particularly interesting aspect is that the animated content is typically positioned behind the screen geometry. This configuration is essential for maintaining correct perspective and reflective behavior, which contributes to the illusion of depth and realism.
Additionally, I was surprised to learn that the content displayed across multiple screens must be rendered separately, rather than being treated as a single continuous display. I had initially assumed it functioned as one unified surface.
Furthermore, the 3D visual effect is only perceptually effective from specific viewing angles and positions. Outside of these optimal vantage points, the illusion can break down, resulting in distortions or visuals that appear incongruent with the intended perspective.
Progress on my experimental project
This week, I have been refining my concept in response to constructive feedback from both my primary tutor and a specialist in stop-motion animation.
Initially, my intention was to create a stop-motion animation trailer to promote a larger 3D animation project on platforms such as Instagram and other social media. Consequently, I opted for a portrait-oriented frame to align with the visual standards and user behavior typical of these digital platforms.
Upon further reflection, I came to realize that producing a stop-motion trailer for a 3D animation could potentially create confusion for the audience, as the two mediums convey different visual expectations and stylistic cues. This realization prompted a significant shift in my approach: rather than using stop-motion as a standalone promotional tool, I decided to integrate it within the 3D animation itself as a narrative device. This method enables the stop-motion sequences to serve a functional purpose within the story, enhancing the narrative by representing specific moments such as a character’s imagination, memories, or visions of the future.
This technique has been employed effectively in various films and animations to signify shifts in perspective or reality. For example, in Enchanted, the transition from traditional 2D animation to live-action cinematography underscores the protagonist’s movement from a fantastical realm into the real world, providing a clear visual distinction between the two settings.
A particularly compelling example of this technique can be observed in Black Myth: Wukong. In this game, each time the protagonist, Wukong, defeats an enemy, the narrative shifts to reveal the backstory of that character. These flashbacks are presented in a variety of visual styles, including 2D animation and stop-motion. Rather than feeling disjointed or inconsistent, these transitions enrich the storytelling by offering a distinct aesthetic for each character’s history, thereby enhancing the emotional depth and narrative complexity. Moreover, this approach showcases the artistic versatility of the studio, highlighting its ability to work across multiple animation styles. This not only sustains viewer interest but also reinforces the creative identity of the production, making the overall experience more dynamic and engaging.
This multi-style approach to storytelling is something I am seriously considering incorporating into my own project. It offers an opportunity not only to enrich the narrative but also to demonstrate a broader range of technical and creative skills.
In addition to conceptual development, I also visited the stop-motion studio this week to familiarize myself with the available equipment. This hands-on exploration gave me a clearer understanding of the practical resources at my disposal and will inform how I plan and execute the stop-motion segments of my animation.
Following my tutor’s recommendation, I explored a practical setup for capturing stop-motion animation, which involves positioning the camera overhead, placing the character centrally within the frame, and situating the background elements—or a green screen—beneath. I found this method to be both efficient and intuitive. Compared to using a tripod or rig to suspend the character, which would require time-consuming post-production work to digitally remove the support structures, this approach offers a cleaner and more streamlined workflow during both production and editing stages.